Dharmesh Suresh Desai directs Akshay Kumar, Ileana D’Cruz and Esha Gupta in the court procedural, thriller drama Rustom. The story inspired by the infamous Nanavati case that saw the end of the jury system in India.
The story starts with Indian Naval Commander Rustom Pavri who returns home 2 weeks earlier than expected, only to find his wife not home and letters from her lover in their cupboard. The following day when she returns he leaves and confronts notorious playboy Vikram Makhija and kills him with 3 bullet wounds. Rustom surrenders to police and the story takes off. Pitting the two prominent communities of Bombay, the Sindhis and the Parsis against one another. A tabloid gets the scoop on the case and starts to influence the national opinion in favour of Rustom – the decorated officer and a soldier who did the right thing but the wrong way. We are reminded of this once again when a screeching housemaid of Rustom asks the judge what he would do if he found his wife was sleeping with the prosecuting lawyer. The movie set in the 50s seems to have been made with the same ethos, the court room drama is nothing more than a farce with the Judge played by Anang Desai – Babuji of the popular sitcom Khichdi, more in character as the kudkud kumar. Sachin Khedekar an accomplished Marathi actor playing the prosecuting lawyer Khangani is more slapstick than slick prosecutor. Pavan Malhotra who plays investigating officer Vincent Lobo has two very peculiar ticks, he taps his pens 3-4 times each time he wants to write and his ears fan out like Dumbo each time he expresses surprise.
Ileana D’cruz is beautiful but has very little to do in the movie other than shed massive tears from those beautiful doe-y eyes. She plays the simpering fragile wife with aplomb but her lack of conflict does question the basic premise of the movie. Arjan Bajwa playing Vikram Makhija is the bond-esque villain albeit in a 60s Prem Chopra avatar. Esha Gupta was the clear standout for me. Not for her acting abilities – I seriously doubt she has any, but for her styling and make up. She brings the glamour to the 50s era Vamp that Nadira would be proud of. The final twist where a phone recording is introduced her perfectly detached reactions and eye rolls are the highlights of the file for me so silent-movie vamp like that I was enthralled. Akshay Kumar brings a stoic presence to the film that is perfectly attuned to his upright naval officer character. The only one who doesn’t go the slapstick way with the court proceedings, underplaying each line he is given and thus achieving the desired result.
Why is it that every time a period movie is made in India they rely on oversaturated and unnatural colors of the sky. The green screen/CGI work to recreate the Bombay of a bygone era is partly successful and fails miserably in places. The music is a hindrance and gets in the way of storytelling with three songs that have no rhyme nor reason for their stake at the screen time. I can understand wanting songs to build a buzz pre-release but release them as music videos rather than forcing them into the narrative where they do not belong and you are left with an otherwise believable Akshay Kumar looking like the 90s fool that he was when he romanced the likes of Shilpa Shetty and Raveena Tandon. The story is intriguing and the final twist, a work of fiction (as opposed to the inspiration from the Nanavati case) is interesting enough.
With uneven acting and cringe worthy courtroom scenes this is by no means a perfect movie. But with Akshay Kumar’s understated acting, an interesting story based on true events and overall production value where special care is given to recreating the era with Ileana’s Parsi embroidery sari and Esha Gupta’s gloriously vampy styling this movie entertains more than it irritates.
Sanjay Gupta directs Aishwarya Rai Bachchan, Irrfan Khan and Shabana Azmi in Jazbaa. Jazbaa in Urdu is supposed to mean Passion or rage and that is what Aishwarya feels as her only daughter is kidnapped and as ransom she is asked to defend a rapist and murderer. This being Ms Rai’s come back vehicle the expectations were sky high but a ham-fisted approach at direction is what lets this movie down.
Sanjay Gupta continues his blatant plagiarism with Jazbaa being “inspired” by Seven days a Korean film. Gupta dresses up every possible light source in an unnatural Green and Yellow hue to imbue mood but he goes overboard it just becomes laughable. The story isn’t uninteresting in the right hands it could have been a half-decent revenge/thriller flick but with Gupta manning the reins the multiple plot points seem to appear at minor distractions and do not lead to any conclusion. Take for instance the fact that Irrfan who plays Yohan the most decorated Mumbai cop fighting corruption charges is allowed to roam free even in the court of law while he is evading arrest, then suddenly towards the end he ends up running a dhaaba. Niyaz’s wife who shows up to testify has a side plot of an insurance windfall which is raised as an important point but then left unanswered and unexplored.
Sanjay Gupta also favours style over substance to an absurd effect. Yohan runs around being a top Mumbai cop wearing leather jackets. I am from Mumbai and trust me – NO ONE wears leather jackets EVER unless you want to feel like you are permanently in a sauna. The scene where Irrfan breaks Aishwarya’s car’s glass made everyone in the theatre laugh out loud as it made no sense. Also Niyaz’s strangely affected accent and propensity to speak in English more than Hinglish seemed to belie his character traits. Shabana Azmi who finds Aishwarya’s to have broken and entered into her dead daughter’s house and going through her laptop reacts in the most bizarre of the ways by not reacting at all! Almost all of Shabana’s time on screen is spent in a Xanax induced stupor and she lacks any “Jazbaa” at all. Also the over the top melodramatic dialogues that Irrfan spews forth seem unwarranted and almost dated.
Acting-wise Aishwarya veers between hysterical at the loss of her daughter and tough as nails defence lawyer. She isn’t entirely without merit but for a comeback a lot more was expected and she fails to deliver. Irrfan is quickly being stereotyped into these roles and for someone of his clout (Hollywood and all) and talent the waste is criminal. Shabana Azmi usually a firebrand is too mellowed down here and lack any real fire in her performance. I mean she was Santokben Jadeja for crying out loud.
A little more focus from Sanjay Gupta and this movie could have been as good as Zinda was even though it was also an entirely unoriginal remake of OldBoy. Also Sanjay Gupta wants us to believe that this is a movie that addresses the violence against women by spewing stats at us during the credits which seem like a last minute thought to placate the number of women who will be offended by the way the said rape is recreated thrice and the creature responsible for it seems to suffer no regrets or remorse and the total and complete lack of shock/disgust that one would expect Aishwarya’s character to exhibit.
I will hold out one final hope for Aishwarya to reunite with Sanjay Leela Bhansali and that will be a comeback that she deserves.